1. Vess L. Ossman — St. Louis Tickle [ 3:08]
2. Sam Moore — Chain Gang Blues [ 2:51]
3. Johnny St. Cyr & Lonnie Johnson — Savoy Blues [ 3:28]
4. Sol Hopii's Novelty Trio — The Only, Only One (For Me) [ 3:12]
5. Eddie Lang — Add A Little Wiggle [ 2:57]
6. Eddie Bush & Los Angeles Biltmore Hotel Trio — Clowin' The Frets [ 2:39]
7. King Benny Nawahi & The Georgia Jumpers — California Blues [ 3:03]
8. Roy Smeck & Martha Raye — How'm I Doin'-Dinah [ 3:02]
9. Eddie Condon & Billy Banks — Who's Sorry Now [ 3:08]
10.Carl Kress & Dick Mcdonough — Danzon [ 3:09]
11.Otto ''coco'' Heimel & Candy And Coco — China Boy [ 2:48]
12.Sam Koki & His Islanders & Andy Iona — Minnehaha [ 3:02]
13.The Ink Spots — Swingin' On The Strings [ 2:37]
14.Django Reinhardt & Quintette Du Hot Club De France — Honeysuckle Rose [ 2:55]
15.Casey Bill Weldon — Guitar Swing [ 2:59]
16.Eddie Durham, Freddie Green & Kansas City Five — Love Me Or Leave Me [ 2:50]
17.Oscar Aleman — Whispering [ 2:48]
18.Allan Reuss & Jack Teagarden And His Orchestra — Pickin' For Patsy [ 2:44]
19.George Barnes — Little Rock Getaway [ 2:32]
20.Charlie Christian & Benny Goodman And His Orchestra — Solo Flight [ 2:49]
21.Al Casey & Fats Waller And His Rhythm — Buck Jumpin' [ 2:37]
22.Leon Mcauliffe, Eldon Shamblin & Bob Wills & His Texas Playboys — Twin Guitar Special [ 2:41]
23.Teddy Bunn & The Spirits Of Rhythm — I'm Walkin' This Town [ 2:53]
24.Slim Gaillard And His Flat-Foot-Floogee-Boys — Palm Springs Jump [ 2:41]
25.Oscar Moore & The King Cole Trio — Gee, Baby, I Ain't Good To You [ 2:56]
26.Tiny Grimes Quintet — Red Cross [ 3:09]

This expansive four-disc anthology essentially covers the recorded history of the guitar in the 20th century, beginning with the ragtime banjo that set the table for the role of the guitar in a jazz setting in the early 1900s, and then touching all the bases clear through to the post-postmodern possibilities of the instrument in the 21st century. Don't let the subtitle throw you, though, because Progressions: 100 Years of Jazz Guitar interprets jazz guitar in the broadest of strokes, as it includes not only pantheon jazz players like Eddie Lang, Django Reinhardt, Charlie Christian, Les Paul, Wes Montgomery, and John McLaughlin but also provides an uncommon sweep by featuring Hawaiian stylists Roy Smeck and Sol Hoopii; Western swing aces Leon McAuliffe and Eldon Shamblin; country jazzman Hank Garland; rock virtuosos Jimi Hendrix, Carlos Santana, and Jeff Beck; fusion funksters Larry Carlton, Al DiMeola, and Mike Stein; and hard to classify avant-garde players like Derek Bailey, Sonny Sharrock, James Blood Ulmer, and Marc Ribot. In all, 78 guitarists from some 33 labels are represented. Arranged roughly by date of recording from first to last (there are some deviations to trace the development of a particular style), it is easy to follow the track listing for Progressions in the well-organized 148-page book that accompanies the discs, and what emerges is a portrayal of the massive influence the guitar has had on every form of popular music in the past century. One could quibble about players who were left out, and things are slightly tilted toward electric players as the set progresses, although that is probably understandable, since getting the guitar plugged in is what made it work in large ensembles in the first place. It's hard to argue with a piano, but a case could be made (and this set assembles ample evidence) that the electric guitar was the defining popular musical instrument of the 20th century, and certainly the dominant ensemble instrument for the last half of it. Progressions: 100 Years of Jazz Guitar suggests that the possibilities for the guitar are far from exhausted as the musical time line begins to edge deeper into the 21st century. A beautiful set. ---Steve Leggett, AllMusic Review

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1. Bill Dearango & Dizzy Gillespie — Ol' Man Rebop [ 2:44]
2. Barney Kessel & The Poll Winners — On Green Dolphin Street [ 4:03]
3. George Van Eps — What Is This Thing Called Love [ 2:19]
4. Jimmy Raney — Body And Soul [ 3:39]
5. Chuck Wayne & Tony Bennett — My Baby Just Cares For Me [ 2:20]
6. Les Paul — Runnin' Wild [ 1:54]
7. Chet Atkins — Mountain Melody [ 2:10]
8. Tal Farlow — Yardbird Suite [ 5:16]
9. Johnny Smith — The Boy Next Door [ 2:37]
10.Laurindo Almeida — Tocata [ 4:47]
11.Jim Hall & Bill Evans — I've Got You Under My Skin [ 3:23]
12.Stan Getz & Joao Gilberto — Aguas De Marco (Waters Of March) [ 4:41]
13.Toots Thielemans — Bluesette [ 2:50]
14.Kenny Burrell — Midnight Blue [ 4:03]
15.The Wynton Kelly Trio & Wes Montgomery — Unit 7 [ 6:46]
16.Herb Ellis & Oscar Peterson — Naptown Blues [ 5:19]
17.Hank Garland — Move [ 4:27]
18.Howard Roberts — Easy Living [ 4:08]
19.Grant Green — Jean De Fleur [ 6:50]
20.Joe Pass — Night And Day [ 3:44]

This is a wonderful set in many ways, not the least of which is that it provides the listener with a variety of early musicians and the development of guitar (including its predecessor, banjo) in jazz. While you may not want to buy full selections of Smeck, Condon, Lange, etc., and others from the 20s and 30s, this will provide a valuable and entertaining progression of guitar creativity in jazz. It progresses well into the 80s and beyond.

There is a quote from Pablo Picasso, which says, "nothing stifles creativity like good taste" or words to that effect. I too play jazz guitar, and I'm not so sure I would exclude any of the examples included, as each, in some way, has pushed the sound, the application, the voice of the guitar to a new point. I think, by and large, guitarist are rather traditional and conservative, and often wishing to appear to have good taste'. I'd prefer to taste things myself, and then decide if something is good, rather than have someone make the decision for me.

Also, looking backward in a genre isn't always the best perspective, imho. One reviewer is disappointed that Hendrix is included, I am not. When I think about his sound, his creative techniques, and, his thematic development in solos, interesting chord coloration, I think the inclusion is indeed merited. More to the point, the inclusion may well prompt the listener to better appreciate 'jazz elements' which aren't always so categorized by media and industry marketing. I think of mandolin players like Grisman, Reischman, and Matt Flinner, often relegated to the bluegrass genre, due only to the fact that they are playing a mandolin.

Perhaps, best of all, since jazz is a very extensive genre, and one that isn't always easy to become familiar with, I think this is a superb place to start for any guitarist or listener to get a overview of jazz guitar, and then know where to start in depth. I also think the packaging is beautiful and the book is very interesting, not only giving brief bios of the players, but also a tip of the hat to guitars, and a brief but interesting analysis of a few solos.

And for many who are interested but not wishing to go in depth, or, for those that simply want to find some previously unknown music in this genre that they enjoy, its likely to be here, be it early swing blues, classic 50s, progressive, or contemporary. The joy of this set, even for those of us who enjoy jazz and know it, is there is likely to be something new and interesting. More so for the new and uninitiated or those seeking to start their journey. For me, I was particularly surprised by Roy Smeck's accompaniment of a very young Martha Raye singing a somewhat risqué tune for the time. Or some of the Hawaiian guitar selections, a genre that was the national rage in the late 20's. Listening to it with the perspective of how new and unusual it must have been at the time, makes understanding the rage easy.

I have had this set a few years now, and I regularly re-visit each disc, and listen critically, and only a few selections at one time to better appreciate each selection and era, as there is always something new and interesting to my ear. There are some great selections in this set. You may not be in the mood for all of them at any given sitting, given the huge range , but all are superb, imho. ---Steven H. Dymond, amazon.com

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1. George Benson — Clockwise [ 4:26]
2. Pat Martino — Pat Martino [ 5:51]
3. Lenny Breau — A Taste Of Honey [ 4:24]
4. Charlie Byrd — How Insensitive [ 2:44]
5. Gabor Szabo — Gypsy Queen [ 5:11]
6. Gary Burton & Larry Coryell — June 15, 1967 [ 4:54]
7. Sonny Sharrock — As We Used To Sing [ 6:25]
8. Derek Bailey — Should Be Reversed [ 3:51]
9. Jimi Hendrix — Manic Depression [ 3:43]
10.John Mclaughlin And The Mahavishnu Orchestra — Birds Of Fire [ 5:44]
11.Mick Goodrick & Gary Burton — Coral [ 4:09]
12.John Abercrombie — Ralph's Piano Waltz [ 4:55]
13.Ralph Towner — The Prowler [ 4:59]
14.Pat Metheny — Bright Size Life [ 4:44]
15.Toninho Horta — Aqui, Oh! (Check This Out) [ 4:57]
16.Earl Klugh — Midnight In San Juan [ 5:52]

This 4-CD box is loaded with name guitarists, as well as some who were or are merely popular. 100 Years of Jazz Guitar though? Not quite. The first track (1906) features banjoist Vess Ossman, but the next track wasn't cut until 1921. That said, almost everything here has something to recommend it, particularly the Hawaiian guitar work on the first CD. You have some of the fathers of jazz guitar playing on this disc, Lonnie Johnson, Eddie Lang, Django Reinhardt, and Charlie Christian, all of them demonstrating why they were innovators. The second disc contains the work of 1940s and 1950s bop and post-bop guitarists, such as Bill de Arango, who was arguably the best bop guitarist until he elected to drop off the national scene and return to Cleveland in 1948. You've also got great cats like Jimmy Raney, Tal Farlow, Chuck Wayne, Jim Hall, Kenny Burrell, Wes Montgomery, Grant Green, and Joe Pass appearing on the disc. Disc three covers rock-jazz fusion and features such classic tracks as Jimi Hendrix's "Manic Depression" and Pat Metheny's "Bright Size Life." Other significant work by George Benson, Pat Martino, Derek Bailey, John McLaughlin, and Mick Goodrick also appears. As for the fourth disc, it includes too much undistinguished pop fluff by Santana, Phil Upchurch, Eric Gale, and others. There are fine cuts by Marc Ribot, Bill Frisell, James Blood Ulmer, and Mike Stern (with Miles Davis), but it's still the least important side. The box also contains a 148-page book with an introduction by John Scofield, photos of every player, 25 guitar heroes speaking about their heroes, solo transcriptions and analyses, photos of vintage guitar models, amps, ads, and more. There's plenty of Progression, even if it's not 100 years' worth. ---austinchronicle.com

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1. Carlos Santana — Europa [ 5:05]
2. Phil Upchurch — Inner City Blues [ 6:43]
3. Eric Gale — Thumper [ 4:12]
4. Larry Carlton — Spiral [ 6:13]
5. Lee Ritenour — Captain Fingers [ 7:08]
6. Allan Holdsworth — Mr. Spock [ 6:14]
7. Al Di Meola — Race With The Devil On Spanish Highway [ 6:16]
8. Jeff Beck — Cause We've Ended As Lovers [ 5:43]
9. James Blood Ulmer — Church [ 4:55]
10.Bill Frisell — Ron Carter [ 6:48]
11.John Scofield — Hottentot [ 6:45]
12.Marc Ribot — Postizo [ 4:58]
13.Mike Stern — Fat Time [ 7:26]

Containing a veritable encyclopedia of written information about the guitarists who have molded jazz during its century of development, this four-CD boxed set has it all. From the earliest recorded traces of jazz guitar to Bill Frisell and John Scofield, it's all there for study and listening pleasure.

Early traditional jazz, blues, and ragtime included pioneering guitar refrains from legendary figures such as George F. Dudley, Roy Butin, Sam Moore, Johnny St. Cyr, and Lonnie Johnson. Louis Armstrong didn't always relegate his guitarists to simply keeping the beat. With his Hot Five, they improvised a melody on the front line with as much strength as the leader's powerful horn.

Eddie Condon brought people together and relished his role as rhythm maker. Carl Kress and Dick McDonough provide the earliest example of pure jazz as art when they improvise on "Danzon" with a swinging rapport. Django Reinhardt and Stephane Grappelli follow with a big piece of history, as they swing with a portion of jazz that continues to be loved widely and interpreted freely today. Their acoustic swing and relaxed spontaneity puts a smile on faces young and old, near and far.

The electric and amplified guitar changed things. As Eddie Durham, on an electric model, interprets "Love Me or Leave Me" with Freddie Green on rhythm guitar, you can feel the mood switching from plain old outdoor country fun to a smoke-filled nightclub where intimacy reins. It's euphoric.

George Barnes played electric guitar on a 1940 session that included tenor saxophonist Phillip Ward in a swinging affair. Together, they take "Little Rock Getaway" for a stroll through the Swing Era with a lovely quartet. The recording has never been issued before now. Charlie Christian's "Solo Flight" with the Benny Goodman Orchestra in 1941 raised eyebrows and continues to serve as a perceived starting point for the guitar's successful integration into jazz. What follows simply builds upon that cornerstone and continues the tradition of spontaneity, swing, and spirit.

Teddy Bunn and Slim Gaillard provided swinging jazz that was fun. With Nat King Cole, Oscar Moore provided romantic jazz that nestled in comfortably with our senses. Then it was time for Charlie Parker and Dizzy Gillespie to change the way that we view jazz.

Tiny Grimes plays the electric guitar with Bird on "Red Cross" from a 1946 session that finds the guitarist conversin' with Parker and steppin' out for a solo spot that ushered in bebop for keeps.

Barney Kessel, Jimmy Raney, Tal Farlow, George Van Eps, Chuck Wayne, and Les Paul demonstrate how suitable the guitar is as a solo instrument. In 1954, Tony Bennett's voice had the same emotional spirit that it has today. With Bennett, Chuck Wayne gave his interpretation of "My Baby Just Cares for Me" an intimate quality. Les Paul proved inspirational to many aspiring guitarists with his virtuosic display of blazing-fast technique.

Jim Hall and Bill Evans interpret "I've Got You Under My Skin" from a 1966 duo session that showcased the guitarist's fluid melodies and uncanny chorded accompaniment. Kenny Burrell's "Midnight Blue" remains one of the classic modern jazz recordings that belongs in every collector's desert island picks. His searing melodic improvisations come from deep within, as he lets his spirit take the music on a roll. Without that deeply felt inner quality, jazz is meaningless.

Wes Montgomery, Herb Ellis, Grant Green, and Joe Pass appear with fine examples of their stellar contributions to jazz history. George Benson appears with Ronnie Cuber and Lonnie Smith on a 1966 interpretation of "Clockwise," which features a fresh, up-tempo organ/guitar combo romp in the hard bop tradition. Pat Martino and Charlie Byrd demonstrate the power of jazz guitar as leader; then we turn to fusion.

Jimi Hendrix, John McLaughlin, John Abercrombie, and Ralph Towner capture a spirit that was beginning to envelop the world through mass audience gatherings and sultry jazz/rock adventures. Their cool approach maintained a jazz outlook while forging ahead into mystical explorations. Experimentation was the keyword. Still is, and should remain relevant to all that we pursue.

Smooth jazz, fusion, and pop/rock appear in the later years to remind us how far the shadow of a guitar's improvised melody extends. Today, we're faced with hundreds of fine jazz guitarists who all deserve our attention. Styles vary, and we eventually settle for one over the other.

More than five hours of influential jazz guitar makes 100 Years of Jazz Guitar monumental in its scope. It's all there in one package. Five of the tracks have never been issued before, and all of it comes with superbly mastered sound. Each track selected for this highly recommended project features a standout guitarist who has made a major impact on the history of jazz guitar. ---Jim Santella

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